Pub Date : 2023-08-07DOI: 10.1177/00472441231188781
Xiaohua Jiang
Blutbuch, Kim de l’Horizon’s debut and semi-autobiographical novel, portrays a homosexual protagonist resisting constraints upon their body, gender and sexuality – the normative and taken-for-granted division between the two sexes. As the protagonist adds new academic materials and sexual experiences to their Blutbuche (copper beech) and Barebacking (unprotected sexual practices) archive, they also realise how the plant’s cultural history resembles the gender history in European countries across the centuries – interference regulates both the plant’s colour and the human body and prevailing discrimination based on gender and race. The protagonist’s struggle with their mixed emotions towards their Swiss-German family background represented by their grandmother and mother changes from confusion and estrangement to affection and understanding. They undergo an anxious and tough journey while comprehending the complex interconnectedness between language and tradition, tree and body.
{"title":"Creating a Blutbuche and Barebacking archive: An analysis of Kim de l’Horizon’s Blutbuch (2022)","authors":"Xiaohua Jiang","doi":"10.1177/00472441231188781","DOIUrl":"https://doi.org/10.1177/00472441231188781","url":null,"abstract":"Blutbuch, Kim de l’Horizon’s debut and semi-autobiographical novel, portrays a homosexual protagonist resisting constraints upon their body, gender and sexuality – the normative and taken-for-granted division between the two sexes. As the protagonist adds new academic materials and sexual experiences to their Blutbuche (copper beech) and Barebacking (unprotected sexual practices) archive, they also realise how the plant’s cultural history resembles the gender history in European countries across the centuries – interference regulates both the plant’s colour and the human body and prevailing discrimination based on gender and race. The protagonist’s struggle with their mixed emotions towards their Swiss-German family background represented by their grandmother and mother changes from confusion and estrangement to affection and understanding. They undergo an anxious and tough journey while comprehending the complex interconnectedness between language and tradition, tree and body.","PeriodicalId":43875,"journal":{"name":"JOURNAL OF EUROPEAN STUDIES","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2023-08-07","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41419885","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-07-29DOI: 10.1177/00472441231188780
Fergal Lenehan
This article analyses the representation of Richard Coudenhove-Kalergi in Bernhard Setzwein’s Der böhmische Samurai (2017) and Heinrich Mann in Colm Tóibín’s The Magician (2021). This discussion is situated in a number of wider contexts, including literary European Studies within German and Irish Literary Studies; existing representations of European federalists/Europeanists; the actual European thought of Richard Coudenhove-Kalergi and Heinrich Mann; and the oeuvre of the novelists Bernhard Setzwein and Colm Tóibín. It is argued that the representation of European federalists in recent novels enables us to analyse common attitudes and understandings of Europe and Europeanness in the current environment of Euroscepticism, self-questioning, and self-doubt at the institutional as well as constituent levels. It is also argued that the European federalists Richard Coudenhove-Kalergi and Heinrich Mann are represented as European cosmopolitans: Both are depicted as existing within a wide variety of transnational links, as remaining deeply sceptical of nationalism, especially in its violent form, and as arguing for the extension of the space of the political, beyond the national. Their depiction is, thus, of intellectual figures who laid some of the ideational groundwork for the creation of later European institutions, undertaking this reflective task from the perspective of an idealistic, pacifist and deeply democratic cosmopolitanism.
{"title":"Depicting European federalists in fiction: Richard Coudenhove-Kalergi in Bernhard Setzwein’s Der böhmische Samurai (2017) and Heinrich Mann in Colm Tóibín’s The Magician (2021)","authors":"Fergal Lenehan","doi":"10.1177/00472441231188780","DOIUrl":"https://doi.org/10.1177/00472441231188780","url":null,"abstract":"This article analyses the representation of Richard Coudenhove-Kalergi in Bernhard Setzwein’s Der böhmische Samurai (2017) and Heinrich Mann in Colm Tóibín’s The Magician (2021). This discussion is situated in a number of wider contexts, including literary European Studies within German and Irish Literary Studies; existing representations of European federalists/Europeanists; the actual European thought of Richard Coudenhove-Kalergi and Heinrich Mann; and the oeuvre of the novelists Bernhard Setzwein and Colm Tóibín. It is argued that the representation of European federalists in recent novels enables us to analyse common attitudes and understandings of Europe and Europeanness in the current environment of Euroscepticism, self-questioning, and self-doubt at the institutional as well as constituent levels. It is also argued that the European federalists Richard Coudenhove-Kalergi and Heinrich Mann are represented as European cosmopolitans: Both are depicted as existing within a wide variety of transnational links, as remaining deeply sceptical of nationalism, especially in its violent form, and as arguing for the extension of the space of the political, beyond the national. Their depiction is, thus, of intellectual figures who laid some of the ideational groundwork for the creation of later European institutions, undertaking this reflective task from the perspective of an idealistic, pacifist and deeply democratic cosmopolitanism.","PeriodicalId":43875,"journal":{"name":"JOURNAL OF EUROPEAN STUDIES","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2023-07-29","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44066937","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-07-29DOI: 10.1177/00472441231188782
Sercan Hamza Bağlama, Bilgin Güngör
Postcolonial theory perceives the world as divided between the coloniser and the colonised, thus indirectly reproducing the centrality of the West. For this reason, in literary studies, postcolonial theory fails to cover the literatures of those nations which were not colonised in a typical sense but rather occupied by Western imperialism, as was the case with Ottoman Turkey. This necessitates a convergent theoretical framework that might help evaluate the fictionalisation of the intersecting dynamics of oppression, violence, exploitation, and resistance in relation to the hegemonic narratives of imperialism and shape a new perspective regarding the politico-cultural dimension of imperial discourse. This article, in this respect, will critically develop the theoretical foundations of imperialism-oriented literary theory and construct it as an interdisciplinary field that has a potential to contribute to contemporary postcolonial theory and to encompass the intersectional dimensions of imperialism and imperial discourse for the articulation of the fictionalisation of imperialism-related issues in the under-considered corpus of modern Turkish literature.
{"title":"Imperialism and literature: An imperialism-oriented reading of modern Turkish literature","authors":"Sercan Hamza Bağlama, Bilgin Güngör","doi":"10.1177/00472441231188782","DOIUrl":"https://doi.org/10.1177/00472441231188782","url":null,"abstract":"Postcolonial theory perceives the world as divided between the coloniser and the colonised, thus indirectly reproducing the centrality of the West. For this reason, in literary studies, postcolonial theory fails to cover the literatures of those nations which were not colonised in a typical sense but rather occupied by Western imperialism, as was the case with Ottoman Turkey. This necessitates a convergent theoretical framework that might help evaluate the fictionalisation of the intersecting dynamics of oppression, violence, exploitation, and resistance in relation to the hegemonic narratives of imperialism and shape a new perspective regarding the politico-cultural dimension of imperial discourse. This article, in this respect, will critically develop the theoretical foundations of imperialism-oriented literary theory and construct it as an interdisciplinary field that has a potential to contribute to contemporary postcolonial theory and to encompass the intersectional dimensions of imperialism and imperial discourse for the articulation of the fictionalisation of imperialism-related issues in the under-considered corpus of modern Turkish literature.","PeriodicalId":43875,"journal":{"name":"JOURNAL OF EUROPEAN STUDIES","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2023-07-29","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43456321","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-07-29DOI: 10.1177/00472441231188785
Deividas Zibalas
This article focuses on Woody Allen’s cinematic representation of Rome in To Rome with Love (2012). Rome is undoubtedly one of the most intertextually ‘contaminated’ cityscapes in the world, which means that there are so many pre-existing texts about it, such as paintings, novels, travel guides and films, that our minds are filled with predetermined notions of what the city is like. There are at least two well-established traditions of representing Rome that influence the way the city has been imagined. This article explores where Allen’s film stands within the tradition by focusing on four specific semantic profiles or scripts of the city overlooked by the film’s reviewers.
{"title":"To Woody Allen’s Rome with Love: Four city profiles","authors":"Deividas Zibalas","doi":"10.1177/00472441231188785","DOIUrl":"https://doi.org/10.1177/00472441231188785","url":null,"abstract":"This article focuses on Woody Allen’s cinematic representation of Rome in To Rome with Love (2012). Rome is undoubtedly one of the most intertextually ‘contaminated’ cityscapes in the world, which means that there are so many pre-existing texts about it, such as paintings, novels, travel guides and films, that our minds are filled with predetermined notions of what the city is like. There are at least two well-established traditions of representing Rome that influence the way the city has been imagined. This article explores where Allen’s film stands within the tradition by focusing on four specific semantic profiles or scripts of the city overlooked by the film’s reviewers.","PeriodicalId":43875,"journal":{"name":"JOURNAL OF EUROPEAN STUDIES","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2023-07-29","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43976222","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-06-01DOI: 10.1177/00472441231170054
Jeremy Black
During the spring term, the Yale-in-London program at the Paul Mellon Centre for Studies in British Art, located in central London, offers four courses in British studies generally including British history, history of art or architecture, literature, and drama. Students take all four courses offered, and courses taught at the Paul Mellon Centre must be taken for a letter grade. Further information is available on the program's website. Inquiries may also be directed to yaleinlondon@yale.edu. The application deadline for spring term 2018 is Friday, October 6, 2017. Students will be notified of acceptance within one month of the application deadline. Inquiries about the summer program, described in the Undergraduate Curriculum section, should be directed to the same address. Applications for summer 2018 are due Thursday, February 15, 2018.
{"title":"Book Review: G.C. Peden: Churchill, Chamberlain and Appeasement","authors":"Jeremy Black","doi":"10.1177/00472441231170054","DOIUrl":"https://doi.org/10.1177/00472441231170054","url":null,"abstract":"During the spring term, the Yale-in-London program at the Paul Mellon Centre for Studies in British Art, located in central London, offers four courses in British studies generally including British history, history of art or architecture, literature, and drama. Students take all four courses offered, and courses taught at the Paul Mellon Centre must be taken for a letter grade. Further information is available on the program's website. Inquiries may also be directed to yaleinlondon@yale.edu. The application deadline for spring term 2018 is Friday, October 6, 2017. Students will be notified of acceptance within one month of the application deadline. Inquiries about the summer program, described in the Undergraduate Curriculum section, should be directed to the same address. Applications for summer 2018 are due Thursday, February 15, 2018.","PeriodicalId":43875,"journal":{"name":"JOURNAL OF EUROPEAN STUDIES","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2023-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"65284828","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-06-01DOI: 10.1177/00472441231170054a
Alan B. Wood
{"title":"Book Review: Keir Giles: Russia’s War on Everybody: And What it Means for You","authors":"Alan B. Wood","doi":"10.1177/00472441231170054a","DOIUrl":"https://doi.org/10.1177/00472441231170054a","url":null,"abstract":"","PeriodicalId":43875,"journal":{"name":"JOURNAL OF EUROPEAN STUDIES","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2023-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43211771","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-06-01DOI: 10.1177/00472441231170054b
P. Bishop
Condescendingly, Giles admits that while these ‘“idiots” can often be highly intelligent individuals . . . for one reason or another [they] simply do not understand the consequences of what they do or say’. This, he adds, can stem ‘from a lack of understanding of the real-world impact of their academic studies’ (p. 167). The effrontery, almost insolence, of these remarks is truly breath-taking and has no part in proper academic discourse. It amounts to little more than mud-slinging. By loosing off these vitriolic barbs, Giles’ philippic merely serves to reinforce Russian suspicions about the West’s hostile attitude and intentions, thereby unwittingly turning himself into the Kremlin’s ‘useful cretin’. (The author may rest assured that this description is not intended to be a ‘deliberate insult’ but used just in the interests of alliteration). As for his final prognosis concerning the future of Russo-Western relations, his prodigious investigations lead him to the startling conclusion that we can all expect more of the same. That is to say: Russia – whoever the country’s leader – will always remain antagonistic towards the West, and the West will continue to regard Russia as its potential or actual enemy. According to Giles, ’twas ever thus, and ever more shall be so.
{"title":"Book Review: Uwe Schütte (ed.): The Cambridge Companion to Krautrock","authors":"P. Bishop","doi":"10.1177/00472441231170054b","DOIUrl":"https://doi.org/10.1177/00472441231170054b","url":null,"abstract":"Condescendingly, Giles admits that while these ‘“idiots” can often be highly intelligent individuals . . . for one reason or another [they] simply do not understand the consequences of what they do or say’. This, he adds, can stem ‘from a lack of understanding of the real-world impact of their academic studies’ (p. 167). The effrontery, almost insolence, of these remarks is truly breath-taking and has no part in proper academic discourse. It amounts to little more than mud-slinging. By loosing off these vitriolic barbs, Giles’ philippic merely serves to reinforce Russian suspicions about the West’s hostile attitude and intentions, thereby unwittingly turning himself into the Kremlin’s ‘useful cretin’. (The author may rest assured that this description is not intended to be a ‘deliberate insult’ but used just in the interests of alliteration). As for his final prognosis concerning the future of Russo-Western relations, his prodigious investigations lead him to the startling conclusion that we can all expect more of the same. That is to say: Russia – whoever the country’s leader – will always remain antagonistic towards the West, and the West will continue to regard Russia as its potential or actual enemy. According to Giles, ’twas ever thus, and ever more shall be so.","PeriodicalId":43875,"journal":{"name":"JOURNAL OF EUROPEAN STUDIES","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2023-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42308838","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-06-01DOI: 10.1177/00472441231170054c
Osman Durrani
musicians’ decision to settle in the rural idyll of Forst in Lower Saxony, sometimes going into the granular detail of specific tracks. Yet, while most contributors rightly emphasise Krautrock’s musical innovativeness, Jens Balzer makes a powerful case for seeing it as a highly conservative movement, arguing it was almost exclusively dominated by white, heterosexual men with an upper-middle-class background, and often sought to cultivate and reappropriate German cultural traditions (reflected in the choice of such band names as Hölderlin, Novalis, and Ougenweide). Finally, in examining the legacy of Krautrock, Jeff Hayton traces the evolution of punk as it developed in West Germany in the late 1970s and early 1980s and its connections to Krautrock, noting that the generation against which punks were revolting was precisely the ’68ers (although surely not only them); Alexander Carpenter explores how, despite its ‘Teutonic heaviness’, the experimental aesthetic and anti-rock ethos of Krautrock helped shape the sound of British post-punk music; and in a fascinating chapter, Marcus Barnes investigates how Krautrock transcended Germany’s borders and (so to speak) travelled from Düsseldorf to Detroit and its musical nightclub scene of house, techno, hip-hop, etc., via the influence of free jazz. According to Mike Banks, Kraftwerk’s key track Nummern is nothing less than ‘the secret code of electronic funk’: it was ‘the perfect urban music because it was controlled chaos, and that’s exactly what we live in’ (cited p. 290). This remark clearly hints at Krautrock’s continuing relevance today, as does another aspect. For Barnes argues that the notion of ‘universal funk’ pervades Krautrock and the music it inspired, suggesting it shows how, ‘beyond superficial physical identity such as gender, nationality, racial categorisation, and other such limiting signifiers of identity, music is a vehicle for the human experience’ (p. 291). In this sense, then, Krautrock fully deserves the label of kosmische Musik that Rolf-Ulrich Kaiser introduced in the 1970s, and this confirms the link drawn – perhaps surprisingly – by Schütte in his introduction between the astral metaphor found in Arnold Schönberg’s string quartet no. 2, op. 10 (with its incorporation of a line from the poem Entrücking by the Symbolist poet Stefan George and its reference to ‘air from another planet’) and the ambition of Krautrock to produce music that is truly kosmisch, experimenting with ‘previously unheard, otherworldly sounds [. . .] not in a fantastic neverland or an unattainable, distant future, but here and now, as a harbinger of things to come’ (p. 11). As Louis Pattison recently observed in the online music publication Bandcamp Daily (in an article celebrating the continuing creativity and activity of many individuals associated with the genesis of this experimental movement some 50 years ago), ‘the pioneers of Krautrock are still chugging away’; and this excellent Companion should prove
{"title":"Book Review: Karolina Watroba: Mann’s Magic Mountain: World Literature and Closer Reading","authors":"Osman Durrani","doi":"10.1177/00472441231170054c","DOIUrl":"https://doi.org/10.1177/00472441231170054c","url":null,"abstract":"musicians’ decision to settle in the rural idyll of Forst in Lower Saxony, sometimes going into the granular detail of specific tracks. Yet, while most contributors rightly emphasise Krautrock’s musical innovativeness, Jens Balzer makes a powerful case for seeing it as a highly conservative movement, arguing it was almost exclusively dominated by white, heterosexual men with an upper-middle-class background, and often sought to cultivate and reappropriate German cultural traditions (reflected in the choice of such band names as Hölderlin, Novalis, and Ougenweide). Finally, in examining the legacy of Krautrock, Jeff Hayton traces the evolution of punk as it developed in West Germany in the late 1970s and early 1980s and its connections to Krautrock, noting that the generation against which punks were revolting was precisely the ’68ers (although surely not only them); Alexander Carpenter explores how, despite its ‘Teutonic heaviness’, the experimental aesthetic and anti-rock ethos of Krautrock helped shape the sound of British post-punk music; and in a fascinating chapter, Marcus Barnes investigates how Krautrock transcended Germany’s borders and (so to speak) travelled from Düsseldorf to Detroit and its musical nightclub scene of house, techno, hip-hop, etc., via the influence of free jazz. According to Mike Banks, Kraftwerk’s key track Nummern is nothing less than ‘the secret code of electronic funk’: it was ‘the perfect urban music because it was controlled chaos, and that’s exactly what we live in’ (cited p. 290). This remark clearly hints at Krautrock’s continuing relevance today, as does another aspect. For Barnes argues that the notion of ‘universal funk’ pervades Krautrock and the music it inspired, suggesting it shows how, ‘beyond superficial physical identity such as gender, nationality, racial categorisation, and other such limiting signifiers of identity, music is a vehicle for the human experience’ (p. 291). In this sense, then, Krautrock fully deserves the label of kosmische Musik that Rolf-Ulrich Kaiser introduced in the 1970s, and this confirms the link drawn – perhaps surprisingly – by Schütte in his introduction between the astral metaphor found in Arnold Schönberg’s string quartet no. 2, op. 10 (with its incorporation of a line from the poem Entrücking by the Symbolist poet Stefan George and its reference to ‘air from another planet’) and the ambition of Krautrock to produce music that is truly kosmisch, experimenting with ‘previously unheard, otherworldly sounds [. . .] not in a fantastic neverland or an unattainable, distant future, but here and now, as a harbinger of things to come’ (p. 11). As Louis Pattison recently observed in the online music publication Bandcamp Daily (in an article celebrating the continuing creativity and activity of many individuals associated with the genesis of this experimental movement some 50 years ago), ‘the pioneers of Krautrock are still chugging away’; and this excellent Companion should prove","PeriodicalId":43875,"journal":{"name":"JOURNAL OF EUROPEAN STUDIES","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2023-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45738009","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-06-01DOI: 10.1177/00472441231172058
Fergal Lenehan, Roman Lietz
This article argues that the study of literary Europeanism should be extended to the discourse of wider textual Europeanism, understood here as a digital Europeanism that examines digital texts, in the widest sense, contextualised within the norms of digital culture. The texts emanating on the platform Twitter from two explicitly pro-European/pro-European Union accounts, one German-language and one largely (non-native) anglophone – @PulseofEurope and @mycountryeurope – were examined from 9 May 2021 to 9 November 2021. In evidence was a type of textual Europeanism that indeed owes a degree of coherence to the norms of digital culture. This was seen in relation to referentiality, that is, the use of already existing and circulating cultural materials for one’s own cultural production. This was evident in commented and uncommented retweets, social TV practices and the Europeanisation of Internet memes. The creation of a sense of communality – the way in which meanings can be stabilised, options for action generated and resources made accessible via a collectively supported frame of reference – is also in evidence and to be seen in the distinct discursive creation of an authoritarian ‘other’. This ‘other’ consists of a temporal ‘other’ – a small number of tweets relating to authoritarianisms of the past; an inner-European Union ‘other’ – tweets relating to movements towards authoritarianism within the European Union, especially in Hungary and Poland; and an external European Union other – tweets relating to authoritarianism on the European Union’s borders, especially in Belarus and Russia.
{"title":"Digital Europeanism and extending the literary Europeanist discourse: The Twitter feeds of @PulseofEurope and @mycountryeurope","authors":"Fergal Lenehan, Roman Lietz","doi":"10.1177/00472441231172058","DOIUrl":"https://doi.org/10.1177/00472441231172058","url":null,"abstract":"This article argues that the study of literary Europeanism should be extended to the discourse of wider textual Europeanism, understood here as a digital Europeanism that examines digital texts, in the widest sense, contextualised within the norms of digital culture. The texts emanating on the platform Twitter from two explicitly pro-European/pro-European Union accounts, one German-language and one largely (non-native) anglophone – @PulseofEurope and @mycountryeurope – were examined from 9 May 2021 to 9 November 2021. In evidence was a type of textual Europeanism that indeed owes a degree of coherence to the norms of digital culture. This was seen in relation to referentiality, that is, the use of already existing and circulating cultural materials for one’s own cultural production. This was evident in commented and uncommented retweets, social TV practices and the Europeanisation of Internet memes. The creation of a sense of communality – the way in which meanings can be stabilised, options for action generated and resources made accessible via a collectively supported frame of reference – is also in evidence and to be seen in the distinct discursive creation of an authoritarian ‘other’. This ‘other’ consists of a temporal ‘other’ – a small number of tweets relating to authoritarianisms of the past; an inner-European Union ‘other’ – tweets relating to movements towards authoritarianism within the European Union, especially in Hungary and Poland; and an external European Union other – tweets relating to authoritarianism on the European Union’s borders, especially in Belarus and Russia.","PeriodicalId":43875,"journal":{"name":"JOURNAL OF EUROPEAN STUDIES","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2023-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48175137","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-06-01DOI: 10.1177/00472441231172062
Alexander Jordan
This article presents a letter from the great Victorian man of letters Thomas Carlyle (1795–1881) to François Guizot (1787–1874), the de facto premier of France, recently discovered in the Archives Nationales in Paris. In the letter, Carlyle requests Guizot’s help in procuring visas for two of his friends, the exiled Italian revolutionaries Giovanni and Agostino Ruffini, who were hoping to visit their mother in France. The letter serves as an entry point into a wider consideration of the relationships between Carlyle, Guizot and the brothers Ruffini, all of which have been overlooked in the existing scholarship on Carlyle. In particular, the article provides an English translation of Giovanni and Agostino’s significant accounts of their relations with Carlyle (and his wife Jane), originally written in Italian.
{"title":"Thomas Carlyle, François Guizot and the Brothers Ruffini: An unpublished letter","authors":"Alexander Jordan","doi":"10.1177/00472441231172062","DOIUrl":"https://doi.org/10.1177/00472441231172062","url":null,"abstract":"This article presents a letter from the great Victorian man of letters Thomas Carlyle (1795–1881) to François Guizot (1787–1874), the de facto premier of France, recently discovered in the Archives Nationales in Paris. In the letter, Carlyle requests Guizot’s help in procuring visas for two of his friends, the exiled Italian revolutionaries Giovanni and Agostino Ruffini, who were hoping to visit their mother in France. The letter serves as an entry point into a wider consideration of the relationships between Carlyle, Guizot and the brothers Ruffini, all of which have been overlooked in the existing scholarship on Carlyle. In particular, the article provides an English translation of Giovanni and Agostino’s significant accounts of their relations with Carlyle (and his wife Jane), originally written in Italian.","PeriodicalId":43875,"journal":{"name":"JOURNAL OF EUROPEAN STUDIES","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2023-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42613234","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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